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Poster: dead-head_Monte Date: Nov 3, 2009 11:09am
Forum: GratefulDead Subject: Re: Trying to get in touch with tapers for a college project

What can we help you with? Most Heads here know me for my GD AUD tapes I recorded on June 10, 1973. I just made some good points for June 9 and 10. I think that Bill Gadsden's story is fascinating. Here, I put this post below on here 2 months ago on Sept 7.


I'm trying to tell "their story" about some of the greatest music I ever heard played — but in this case, for the time being — I can only do it from my point of view. Sure, I could tell you some of the fly-on-the-wall stories... oh my.

I could tell you stories about me being roommates w/ Vince Gill, or going to the original Grand Ole Opry w/ Bluegrass Alliance as their soundman and hanging out with Lorretta Lynn on her bus there, and meeting everyone. At the Cowboy Bar in Jackson Hole, I discreetly put Lonnie's fiddle playing through a phase-shifter one night during a massive band rebellion. The band revolted on-stage against him. He was the band leader. I also cut his vocal mic between songs and we had Vince Gill stealing the coveted MC spot from him. And then the band went on to play some unknown material that Lonnie Peerce never heard before, and I cut all his mics off completely.

Bluegrass Alliance
Lonnie Peerce, Robert Pool, John Jump, Vince Gill, Bob Briedenbach, Bill Millet

Million Dollar Cowboy Bar - Jackson Hole, Wyoming - July, 1976

l_94d73967b4ca71b9a435cb86d1bf29f5.jpg

A lot of other people heard the same music played that I heard. Many of them have tapes of some of it, as well as tapes of other stuff played. And many others also have tapes. My thinking was, maybe I could put something together like a "music book" on the internet. So I tried to tell "their story" in a "music book" format on the internet. I could only do it from my point of view. No one is telling me how to do this or what to say. Sure, I want to be a Digital Archivist here, and I've worked at this for 2 years. It's one long learning-curve. I enjoy it. Point is, the musicians and artists should be telling their histories to you. I'd like to be their archivist and put it on the internet for them. What about these people hoarding some of these huge live music tape libraries to themselves, and not sharing? For what? Not just DK and her Jer tapes, but lots of people holding out on lots of artists playing and performing. You can't take any of this art to the grave with you. What should be done? So I thought I'd try and set the bar, for example, with my website. So I built up the Monte the Taper section, and made a Taper's Catalog, so to speak.

I've told you a few GD stories, like the one about Jerry Moore's AUD beauty on July 31, 1973 -- no SBD exists. I was there taping w/ my brand new Nakamichi 550 and an ElectroVoice RE-15 studio mic strapped to a 10-foot pole - rigging that I improvised at the show. I was 25 feet from the stage, FOB / dfc. I was just a little 130-pound punk from NJ when a 280-pound, 6' 8" Hell's Angels security gorilla parted the crowd from backstage, and walked right up to me to take my tape away. I once mentioned here that in spring 1974, the best security detail I ever saw caught me red-handed "in the act" secretly taping at Carnegie Hall in NYC with my ultra-stealth taping kit. It still took the 2 of them about 30 to 45 seconds of intimate scanning the darkness of my booth w/ their flashlights beaming, to finally know for certain they caught me taping. I was politely escorted out the front door after my tapes were confiscated.

I never told you this. I was at Dave Epstein's house one day. He was a part time Kay guitar dealer then. He whipped out a brand new cheapo guitar and proceeded to retrieve a $40 bag of weed out of the $20 guitar. Problem was, Dave couldn't get the ounce bag back out of the porthole while the guitar was still strung up. So Dave says, "fuck this, that weed is worth more than this fucking guitar," and he starts breaking into the back of it. I convinced him to carefully remove just the back of it. I kept this guitar for my taping kit. Inside a guitar case, that guitar with the back removed fit perfectly over my Nakamichi 550.

Nakamichi 550
dead-head_Monte-nak_550.gif

The guitar case didn't hang well by the handle because the center of gravity was way out when I had my Nak inside. It hung on an unnatural angle with a noticeable slant. I got into a lot of clubs with that taping kit by saying I was a musician and I couldn't leave my axe outside in the car. The 2 security pros at Carnegie Hall are the only dudes who ever noticed that. I was too lazy to install a counter-balancing weight to correct this. If I had, no one would have noticed anything wrong. I would re-emphasize that both these 2 guys, and the Hell's Angels security dude, were amazingly very polite to me.

The most important story I have for my own music book story is the one I've already told you about — it's about Jimmy Watson and Jay Delia and my GD roots.

All of us can talk about the wild times too. Or the women. I was tripping at every GD show I went to in 1973. On the other hand, a bunch of us got together this past December after 30-plus years, for a reunion. You can't see me in this pic, but I'm standing just inside the front door of The Bluegrass Hotel. I lived in this housefull of musicians 1975 - 1977. It was the epitomy of a 24/7 jamming house.

Friend of the Devil > Blackberry Blossom taped by Monte in 1976
performed by a few of these boys
featuring 15-year-old Mark O'Connor on violin

Harry Bickel's place in Louisville - The Bluegrass Hotel - Dec 14, 2008

TheBluegrassAlliancealumni.jpg.w560h394.jpg

Tony Rice, Curtis Burch, Dan Crary, J.D. Crowe, John Cowan, Sam Bush

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Poster: ChronaldMcDonald Date: Nov 3, 2009 12:25pm
Forum: GratefulDead Subject: Re: Trying to get in touch with tapers for a college project

Wow, that will really help me. Also, I was hoping to have someone answer a few questions for me once I get a little farther into the paper.

@Monte - if you wouldn't mind, could I get your e-mail so that I could contact you with a larger list of questions for the paper? I wasn't quite so prepared to get great responses so quickly!

Thanks a million guys, and keep the tunes coming!

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Poster: veblen Date: Nov 5, 2009 1:20pm
Forum: GratefulDead Subject: Re: Trying to get in touch with tapers for a college project

you might want to join and post the same request at some of the torrent sites, since a number of the folks monte mentioned are more frequent contributors to those site's forums.

http://www.shnflac.net/torrents.php

http://gdvault.com/tracker/

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Poster: dead-head_Monte Date: Nov 3, 2009 1:25pm
Forum: GratefulDead Subject: Re: Trying to get in touch with tapers for a college project

"you have mail." A few people whom I urge you to contact, for any College project regarding notable Tapers - spanning the gamut, would include: Charlie Miller, Chris Chappell, Kevin Tobin, Hunter Seamons, Sir Mick, Rob Berger, and The_Bus (his name is Salah). There are too many important names to mention. These people have spent countless hours on The Archive and eTree. They have professionally collected and/or rendered some fantastic remasters of Tapers' AUDs and SBDs of recordings of our favorite live music recordings. They have spent an enormous amount of time listening to live Tapes, ranking them, and in many cases they are talking with The Tapers. Their insights surely include valuable commentary about many of The Sources and The Tapers.

Garcia answers the "taping" question — this material is pure gold

Raddison Hotel, room 1503
St. Paul, Mn.
July 10, 1981

— the "taping" question —

journalist Greg Harrington asks, "Jerry, not many bands - if any, aside from The Dead, allow people in to tape record their concerts, and it's something that The Dead have always done. And, what are your feelings along this line? It brings alot of joy to alot of people."

Jerry Garcia, "Well, my feelings are the music is for the people. You know it's like, ahh, I mean after it leaves our instruments, it's of no value to us, you know what I mean? It's like what good is it? So it might as well be taped, my feeling is. And if people enjoy taping it, and enjoy having the tapes to listen to, that's real great. I can sympathize with it, because I used to do alot of taping myself when I was in bluegrass band. I went out of my way to tape shows and I know what that's like. And since what we do is live music, I mean thats ahhh..."

Greg, "Well I think the tapes really capture the magic of the band."

Jerry, "Well that's what everybody says. That's why people tape, you know. I certainly can't ... you can't fight with that, you know. I don't understand why people would object, you know. That's the way I feel about it."

This post was modified by dead-head_Monte on 2009-11-03 21:25:37

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Poster: jglynn1.2 Date: Nov 3, 2009 2:03pm
Forum: GratefulDead Subject: Re: Trying to get in touch with tapers for a college project

Oh and don't forget to check Mouth of The Beast (MOTB)

http://www.motb.org/

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Poster: high flow Date: Nov 3, 2009 2:40pm
Forum: GratefulDead Subject: Re: Trying to get in touch with tapers for a college project

Let this thread be a lesson to all the heads(Dead, knuckle, trumpet, air, lemon, fish....whatever) out there. While this may not be "the kindest place on the internet", it certainly ain't cruel.

Best of luck with your project. Tapers rule. Don't forget, there are still many brilliant tapers who are active in the craft. Browsing the thousands of audience recordings here at LMA is probably the best way to familiarize yourself with the most dedicated and talented among them.

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Poster: Earl B. Powell Date: Nov 3, 2009 3:42pm
Forum: GratefulDead Subject: Re: Trying to get in touch with tapers for a college project

What Flow sez. Conduct yourself with just a touch of humility when you enter the Lion's Den and you might not get bit. Or in the alternative make me call out Uncle Grover Bohemian for backup.

To take it a step further, I've had some real issues to deal with over that past couple of months. Although I haven't always been the sweetest of people, everyone here has been supportive to a fault. I count you folks as a blessing...

(Group Hugs)

I love youz guys.

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Poster: dead-head_Monte Date: Nov 3, 2009 2:53pm
Forum: GratefulDead Subject: Re: Trying to get in touch with tapers for a college project

When all of us got together at Bickel's place in Louisville this past December 2008, I was fixated on being sure to ask Sam Bush and Tony Rice one simple question. And I did. I asked each of them, "Did you ever play with The Grateful Dead?" Sam told me he never did. But Tony told me he played with Jerry Garcia and David Grisman together on a recording project. It has been rumored numerous times by many Dead Heads that some of Jer's fav and most happy experiences were while he was playing with The Dawg. I never taped Tony (I saw him play many times), or The Dawg, or Peter Rowan, or Jer playing pedal steel w/ NRPS. I have taped lots of Vassar Clements. I taped Sam Bush and Newgrass Revival. But first, I taped about 8 or 10 GD shows on the east coast in 1973. The 1974 Marin County Bluegrass Festival SBD tapes have many of these artists playing w/ Jer. There is NO surprise to me that GD arranged and played some of the best sounding cowboy songs I ever heard played. Beginning w/ Sittin' on Top of The World, and then later on there's Big River, Jack Straw, Me and My Uncle, Me and Bobby McGee, Mexicali Blues, El Paso... among my favorites.

Old_and_in_the_Way.jpg

I view Sam Bush's countless on-stage live performances as simply as I view Jerry Garcia's. These 2 guys are my favorite musicians when it comes to brilliant energy, incredible jams and improvisations, singing souful vocals, and playing sweet music. Not to mention, both men are legendary pioneers. They both have a "main" band, side bands and side gigs, several notable "periods" during their long and distinguished musical careers, and they are best known for their many on-stage appearances with all kinds of bands. I look at the whole body of their work. Both artists have countless recordings that circulate on the internet — recordings of them performing live on-stage — over a 30 to 40 year era.


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